(2) The figure of Daramūlŭn is cut upon the ground, resembling that which the Murring cut upon the tree at the place where in their ceremonies the tooth is knocked out. The figure represents a naked black fellow dancing, his arms being slightly extended and the legs somewhat bent outwards (sideways) at the knee, as in the well known “corroboree” attitude.
(3) The representation of his tomahawk cut on the ground, where he let it fall on reaching the earth.
(4) The footsteps of an emu of which Daramūlŭn was in chase.
(5) The figure of the emu extended on the ground where it fell when struck down by Daramūlŭn.
The same author (f) remarks as follows:
Speaking generally, it may be asserted with safety that initiation ceremonies of some kind or other, and all having a certain fundamental identity, are practiced by the aboriginal tribes over the whole of the Australian continent. * * *
Here, then, the novices for the first time witness the actual exhibition of those magical powers of the old men of which they have heard since their earliest years. They have been told how these men can produce from within themselves certain deadly things which they are then able to project invisibly into those whom they desire to injure or to kill; and now the boys see during the impressive magical dances these very things, as they express it, “pulled out of themselves” by the wizards.
Figs. 721, 722, and 723 are copies of the designs upon Tartar and Mongol drums, taken from G. N. Potanin (b). They are used in religious ceremonies with the belief that the sounds emanating from the surface upon which the designs are made, or, to carry the concept a little further, the sounds coming from the designs themselves, produce special influences or powers. Some of these designs are notably similar to some of those found in America and reproduced in the present paper.
Fig. 721.—Tartar and Mongol drums.